When Procol Harum's ninth studio album, Something Magic, was released in March 1977, it sold poorly and was largely dismissed, with the group breaking up at the end of the promotional tour for it. With this reissue more than 30 years later, annotator Roland Clare argues it is "in need of outright reappraisal." He doesn't actually make that case, but he does explain the circumstances that led to the debacle. After its previous album, Procol's Ninth, produced by Jerry Leiber and Mike Stoller, Procol Harum might have been expected to go back to a more conventional approach; instead, the group hired the hot studio of the day, Criteria in Miami, and its hot resident producers, Ron and Howie Albert.

Dies ist das achte Album in der ersten kompletten Aufnahme der 72 Kantaten in Georg Philipp Telemanns Sammlung Harmonischer Gottes-Dienst, veröffentlicht 4,398.0 cm Hamburg - das erste komplette Set Kantaten für das liturgische Jahr, das im Druck erscheint. Die Kantaten sind für Stimme, ein Obbligato-Instrument (Blockflöte, Querflöte, Oboe oder Violine) und Basso Continuo bestimmt, und haben im Allgemeinen die Form von zwei Da-Capo-Arien mit einem dazwischenliegenden Rezitativ. Obwohl die Kantaten von Telemann sowohl für die öffentliche als auch für die private Anbetung gedacht sind, sind sie eine meisterhafte Mischung aus Stimmlichkeit mit geschicktem Kontrapunkt und Gesangs- und Instrumentalvirtuosität.

Companyia Electrica Dharma are one of the forefathers of Catalan Prog Folk. They were formed in Barcelona in 1974, by Fortuny brothers - Joan (soprano saxophone), Josep (drums) and Esteve (guitar), along with Carles Vidal on bass and Jordi Soley on keyboards. The band fused many aspects of Catalan folk music (emphasizing it on the saxophone)with jazz/rock/fusion, as well as other types of Mediterranean-based root music. They're music is festive, light-heartened and toe-tapping, but also complex and not banal at all. The band's line-up changed (or better, widened) several times, once evene with a tragedy: Esteve Fortuny died of cerebral haemorrhage in 1986, during their live performance. Later, Maria and Lluis Fortuny joined the band on keyboards and trumpet, respectively. Pep Rius as guitarist and Tiana Tra Bi on djember percussions are new members as well…

Dispelling rumors of their demise due to Layne Staley's heroin addiction, Alice in Chains is a sonically detailed effort that ranks as their best-produced record, and its best moments are easily some of their most mature music. Alice in Chains relies less on metallic riffs and more on melody and texturally varied arrangements than the group's previous full-length albums, finally integrating some of the more delicate acoustic moods of their EPs. The lyrics deal with familiar AIC subject matter - despair, misery, loneliness, and disappointment - but in a more understated fashion, and the lyrics take on more uplifting qualities of toughness and endurance, which were missing from much of their previous work. The consistent visceral impact Alice in Chains lacks in comparison to that previous work is partially made up for by the skilled production and songs like "Grind," "Brush Away," "Over Now"…

The soundtrack to David Lynch's brilliant Lost Highway highlights the evocative gothic nightmares of producer Trent Reznor, whose Nine Inch Nails contribute the single "The Perfect Drug." Along with material from longtime Lynch collaborator Angelo Badalamenti, the set also includes new music from the Smashing Pumpkins, Marilyn Manson and Lou Reed, who offers a taut cover of the Doc Pomus classic "This Magic Moment."

Cuts Like a Knife is the third studio album by Canadian singer-songwriter Bryan Adams. Released on 18 January 1983 by A&M Records, the album was a huge commercial success in the United States and Canada. Three singles were released worldwide from the album: "Straight from the Heart", the title track and "This Time"; the three were responsible for launching Adams into mainstream popularity.

Par Les Fils De Mandrin constitutes perfect balance between the over-emphasized theatrics of Christian Decamp on Au-Delà Du Délire and the more rock/less lyrical approach of Émile Jacotay. The album is presented as a "musical tale for big children" and, therefore, leaves more room for narratives ("Atlantis"), folk settings ("Ainsi S'en Ira La Pluie"), and medieval atmospheres ("Saltimbanques"). The compositional approach is simpler, keeping the very progressive material for the epic "Hymne à la Vie" ("Hymn to Life"), a piece that allies Yes-like serenity to the typical bombastic sound.

Vignettes marks Crispell's solo piano debut with the label and, after listening through a couple of times, one wonders what took her so long. The pianist on this recording barely resembles the fiery player and improviser who accompanied Anthony Braxton for many years, or the musician who led her own intense ensembles or played hourlong improvised solos that had their roots in the physical approaches of Cecil Taylor and McCoy Tyner.
That said, Vignettes reflects another path of the simply startling development and change in Crispell's recent approach. Crispell has spent a great deal of time in Scandinavia listening to other artists who also record for ECM and other labels. This was first noted apparently when she heard bassist Anders Jormin, whose "less is more" approach also involved the use of folk music from the region in his playing…

The Who by Numbers functions as Pete Townshend's confessional singer/songwriter album, as he chronicles his problems with alcohol ("However Much I Booze"), women ("Dreaming From the Waist" and "They Are All in Love"), and life in general. However, his introspective musings are rendered ineffective by Roger Daltrey's bluster and the cloying, lightweight filler of "Squeeze Box." In addition, Townshend's songs tend to be underdeveloped, relying on verbosity instead of melodicism, with only the simple power of "Slip Kid," the grace of "Blue Red and Grey," and John Entwistle's heavy rocker "Success Story" making much of an impact.

The late-'60s film starring Marianne Faithfull and Alain Delon has a cult reputation, if only because it's one of Faithfull's few film appearances (and has rarely been seen, especially in the U.S.). The soundtrack has enough of a groovy late-'60s period feel to merit a cult reputation of its own, with its bordering-on-bizarre mix of solid '60s Hammond organ grooves, soothing quasi-classical interludes, lush '60s Europop along the lines of the theme from A Man and a Woman, and brief flashes of psychedelia and avant-gardisms. (Faithfull fans be cautioned: Marianne does not sing on the soundtrack at all.) The recurring motifs are quite insinuating, and treated with a number of imaginative arrangements, making this a pretty interesting find for fans of '60s Euro easy listening/pop hybrids, even if they're not interested in having a souvenir of the film. The CD reissue does the job right by adding good liner notes and three bonus cuts by vocalists Mireille Mathieu and Cleo Laine, who recorded these tracks after Les Reed added lyrics to three instrumental pieces from the film.

Reunited with producer Walter Becker, China Crisis made perhaps their most Steely Dan-like album with Diary of a Hollow Horse. Pristinely recorded and brimming with jazzy sophistication, it includes some of the U.K. quintet's best-ever material, including "Sweet Charity in Adoration," a satisfying, complex pop song of the first order that features a lovely flute cameo from sessionman Jim Horn. Yet beyond the FM perfection lurk a few surprises. The group also teamed with producer Mike Thorne (Soft Cell) for a trio of cuts that are among the most simple and direct pop songs in the their catalog. In particular, "St. Saviour Square" and "All My Prayers" have straightforward rhythms and melodies that connect instantly, drawing passionate performances from singer Gary Daly and offering a nice contrast to the more subtle surroundings…

Guitarist Leigh Stephens quit Blue Cheer after touring in support of their second album, Outsideinside, but he may have been amused by the fact it took three men to replace him when the band cut their next LP. There are two different and distinct bands at work on New! Improved! Blue Cheer; on the album's first six tunes, founding members Dickie Peterson (bass and vocals) and Paul Whaley (drums) are joined by Bruce Stephens on guitar and Ralph Burns Kellogg on keyboards, and this lineup bears little musical resemblance to the wildly over-amped power trio that cut Vincebus Eruptum less than two years before.